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Theory of Performing Arts.
N recent years, the post structuralist theories seem to have created a split in theatrological research. But, as André Helbo analyses in this book, a dialectic theory of the semiotic and the symbolic exchange bring to light a specific paradigm. From his wide experience as a semiotician and a theatr...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam/Philadelphia :
John Benjamins Pub. Co.,
1987.
|
| Colección: | Critical theory ;
v. 5. |
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 003 | OCoLC | ||
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| 008 | 111226s1987 pau o 000 0 eng d | ||
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| 049 | |a UAMI | ||
| 100 | 1 | |a Helbo, André. | |
| 245 | 1 | 0 | |a Theory of Performing Arts. |
| 260 | |a Amsterdam/Philadelphia : |b John Benjamins Pub. Co., |c 1987. | ||
| 300 | |a 1 online resource (161 pages) | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a Critical theory ; |v v. 5 | |
| 505 | 0 | |a THEORY OF PERFORMING ARTS; Editorial page; Title page; Copyright page; Table of contents; Foreword; I. CRITICAL THEORY AND PERFORMING ARTS; 1. A general socio-semiotic model; 1. The discourse of social sciences; 1.1. The negative image of semiotics; 1.2. Actualization -- Natural language (langue) and speech (parole); 1.3. Language and society; 1.4. The relational structure; 1.5. Enunciation; 2. Methodology. Spectacular discourse; 2.1. The polysemy of convention; 2.2. Arbitrariness and observation; 2.3. The possible world; 2.4. Persusasive and interpretative doing; 2.5. Modalities. | |
| 505 | 8 | |a 2.6. Specific rhetoricsNote of the translator; Notes; 2. Towards a theatre semiotics; Notes; 3. Theatrology and literary studies; 1. What is theatrology?; 2. Theatrical production; 2.1. Identification; 2.2. Differentiation; 2.3. Text and performance; 3. Theatrical reception; 4. Montage; Notes; II. FUNDAMENTAL CONTROVERSIES; 1. Research methodology; 1. General survey; 2. Semiotics of theater; 3. Relationships to other scientific disciplines; 4. The scientific quest; Note; 2. Communication and cognition; 1. The validity of the rubrics; 2. The relevance of the concept of stimulation. | |
| 505 | 8 | |a 3. Relevance of the concept of communicationNotes; 3. Pragmatics and discourse; 1. A double delegation process; 2. Enunciation instances; 3. Ponendo tollens; Notes; 4. The code, irrelevant concept?; 1. The icon; 2. The index; 3. The signal; 4. The symbol; 5. Stereotypes; Notes; III. NEW PERSPECTIVES AND NEW INSTRUMENTS; 1. The visual paradigm and the scene; 1. Process of an encounter; 2. Semiology of the image; 3. Visual semiotics; 4. The theatrical text; 4.1. Plastic materiality; 4.2. On the relationship premanifested-linguistics-iconics; 4.3. On the verbalization of the figurated. | |
| 505 | 8 | |a 4.4. On codesNotes; 2. Readable and visible dimensions. Opera and theater.; 1. Definitions. Why is opera theory relevant to theatrology?; 2. Theater; 3. Opera; 4. The emancipated image; 5. Enunciated historicity; 6. A poetics; 3. Reception and relation; 1. Mask, otherness; 2. The theatrical object; 3. System of the game; 4. Approach of the theatrical game; Notes; 4. Constructing coherence; 1. Methodological premises; 2. The spectacular text; 3. The components of the spectacular text; 4. Pragmatic study of the spectacular text; 5. Contextual study of the spectacular text; 6. Text and coherence. | |
| 505 | 8 | |a 7. Conclusion5. The spectacular paradigm; Notes; References. | |
| 520 | |a N recent years, the post structuralist theories seem to have created a split in theatrological research. But, as André Helbo analyses in this book, a dialectic theory of the semiotic and the symbolic exchange bring to light a specific paradigm. From his wide experience as a semiotician and a theatrologist, the author has developed an analysis for the theory of spectacle. Focusing his study on a critical theory of the performing arts, and examining the fundamental controversies, he then offers new perspectives and new instruments of analysis: the social aspects, readability/visibility, coheren. | ||
| 588 | 0 | |a Print version record. | |
| 504 | |a Includes bibliography: p. 147-153. | ||
| 590 | |a ProQuest Ebook Central |b Ebook Central Academic Complete | ||
| 650 | 0 | |a Performing arts |x Semiotics. | |
| 650 | 0 | |a Performing arts |x Philosophy. | |
| 650 | 6 | |a Sémiotique et arts du spectacle. | |
| 650 | 6 | |a Arts du spectacle |x Philosophie. | |
| 650 | 7 | |a Performing arts |x Philosophy |2 fast | |
| 650 | 7 | |a Performing arts |x Semiotics |2 fast | |
| 758 | |i has work: |a Theory of performing arts (Text) |1 https://id.oclc.org/worldcat/entity/E39PCFC4CKKxTJxdYGqCHBBGxP |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Helbo, André. |t Theory of Performing Arts. |d Amsterdam/Philadelphia : John Benjamins Publishing Company, ©1987 |z 9789027224095 |
| 830 | 0 | |a Critical theory ; |v v. 5. | |
| 856 | 4 | 0 | |u https://ebookcentral.uam.elogim.com/lib/uam-ebooks/detail.action?docID=802017 |z Texto completo |
| 938 | |a ProQuest Ebook Central |b EBLB |n EBL802017 | ||
| 938 | |a ProQuest MyiLibrary Digital eBook Collection |b IDEB |n 335892 | ||
| 994 | |a 92 |b IZTAP | ||